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Guide 



TO 



Bronzing and Enamelling 



BY 

, , > , 3 



3,333 3 '3 a 3 



REPRESENTING 

The Fuchs & Lang Manufacturing Co., 

29 Warren St., New York City. 



b 






<H 8 



THE LIBRARY OF 
CONGRESS, 

Two Copies Received 

AUG. 5 1901 

COPYRIGHT ENTRY 

GfcfifeS - XXc . No. 
COPY B. 



Copyrighted, 1897. by James Croke. 
Second Edition, Revised, 1901. 



• • •-• 




HUNGtBFDRO-HOLBROOK CO., WATERTOWN, N. 



TO THE READER. 




AVING fully decided upon the 
style of architecture and the in- 
side finish of your house the 
question comes, How can we 
furnish our home to beautify it 
according to the most recent 
ideas ? 

With a view to assisting those 
seeking such information, and in response to repeated 
requests from architects, anticipating builders, con- 
tractors, patrons and others for particulars, I have con- 
cluded to put, in as concise a form as possible, a few of 
the standard rules to be followed to insure the best and 
most lasting results for interior decoration, where bronzes 
and enamels are to be used ; and the proper method of 
applying Bronze Powders by lithographers and printers. 



THE FUCHS AND LANG 

MANUFACTURING CO. 



29 WARREN ST., NEW YORK, N. Y. 

328 DEARBORN ST., CHICAGO... 1 35 SO. FIFTH ST., PHILA. 

MANUFACTURERS AND IMPORTERS OF 
BRONZE POWDERS, :::::: 
DUTCH METAL, COMPOSITION and 
ALUMINUM LEAF, : : _ : : : : 
YELLOW AND BROWN GOLD SIZE, 
WHITE ALUMINUM SIZE, : : : : 
GOLD AND SILVER INKS, : : : : 
METALLIC GOLD PAINTS, : : : : 
BRONZING LIQUIDS and LACQUERS 

Factory: 

North iith, Driggs and North hth Streets, 

Brooklyn, N. Y. 

WE MAKE OUR BRONZES IN AMERICA 




TT 



BRONZING and 

ENAME LLING 




BRONZE AND BRONZING. 

^fc RONZING is the process of covering metal, ivory, 
^^ wood, plaster and clay figures so as to communi- 
cate to them the appearance of ordinary bronze. 

Bronze is a reddish yellow, fine-grained alloy of 
copper and tin, in variable proportions. It was early 
known, and what is usually spoken of as brass in regard 
to the ancient nations was in reality bronze. The 
brass, or bronze, referred to in the Bible was probably 
composed of copper and tin, though some translators 
consider it likely to have been copper alone. The ex- 
aminations of the most ancient coins and metallic orna- 
ments and implements leave no doubt as to the acquaint- 
ance of the ancients with bronze; so much so that in the 
antiquarian history of European nations there is a dis- 
tinct period styled the Bronze Period. At the present 
time bronze is largely used for house and church bells, 
Chinese gongs, ordnance or cannon metal, and specu- 
lum or telescope metal. 



GOLD BRONZE. 

/jJ'OLD powder is used for the finer work, and is 
^^ prepared by grinding gold leaf with honey, on a 
stone slab, till a very fine state of division is obtained, 
then washing out the honey, and drying the gold powder. 
Inferior gold leaf, or that which contains much silver 
and copper, yields the German gold powder employed in 
bronzing. 

Copper powder is prepared by introducing an iron 
bar or plate into a solution of copper, when the latter is 
precipitated as a finelv divided red powder. 

Mosaic gold, or Musivum, is made by fusing a 
pound of tin, introducing a half-pound of mercury, 
alloCving the alloy or amalgam to cool, then pulverizing 
and grinding up with a half-pound of sal-ammoniac and 
seven ounces of sublimed sulphur. Ultimately the 
whole is subjected to the process of sublimation, when 
the tin, as a brilliant yellow powder, resembling gold, is 
left in the subliming vessel. The color of mosaic gold 
may be deepened by the addition of red oxide of lead, 
and it then assumes a copper tint. 



COPPER. 

/tfp'OPPER is one of the most anciently known metal, 
^"^ and its name is derived from the island of Cyprus, 
where it was first obtained by the Greeks. In the earlier 
times, copper does not appear to have been employed by 
itself, but always in admixture with other metals, princi- 
pally tin, forming what is now called bronze. 

There is every reason to believe that, next to the 
large quantities of tin which they obtained, one of the 
greatest inducements which the Phoenicians had in mak- 
ing searches for metal in Great Britain was the copper 
which they procured in their workings at Cornwall. 

BRASS. 

RASS is an alloy of copper and zinc, largely used 
for household furnishings, certain parts of ma- 
chinery, and other ornamental and useful ornaments and 
articles. Technically, the term " Brass " is extended so 
as to include compounds of copper and tin, as in brass 
ordnance ; but such alloys of copper and tin, though 
styled hard " brass," are more strictly varieties of bronze. 
In the manufacture of bronze on a large scale, two parts 
by weight of copper to one part of zinc are used, the 
zihc being one half the weight of copper ; but alloys are 
made for particular purposes with less or greater pro- 
portions of zinc. 



TO DO BRONZING SUCCESSFULLY. 

jjy RONZING is carried to a greater success nowadays 
*^ than it ever was before. This is partly on account 
of the superior bronze powders we now obtain and also 
of a better knowledge of their manipulation and applica- 
tion. Bronzing can be done now to look almost as 
well as gold leaf, and for all interior work is practically 
as good. The bronzing that was done only a few years 
back was a sorry specimen to gaze upon after the rays 
of light had cast their brightness upon it a few days. 
Not so now. Light has little effect upon it ; only the 
severe changes of the elements mar its beauty. 

All metals, except gold and aluminum, will tarnish 
with exposure, and it is folly to suppose any liquid sub- 
stance will hold them intact. We may prolong their 
polished brightness by successful manipulation and the 
use of proper liquids, but time and the elements will 
cause their decay sooner or later. 

How to extend their life and promote their beauty 
to the best advantage is the purpose of this work. Many 
a painter in the small cities (and the large ones, too, for 
that matter), might do quite a little shop business during 
the slack times of winter and midsummer, by supplying 
himself with a variety of the best grades of bronzes and 
doing a little hustling, either by samples, advertising, or 
both. The fashionable parlor is not complete now without 



a gilded chair, which any painter can do and do hand- 
somely, and to last, by following instructions herein 
given. Not only the chair, but a thousand other articles 
too numerous to mention, can be done by the house 
painter and decorator with profit. A few other articles 
we might mention are frames, picture mouldings, hall 
trees, lamps, gas fixtures, and entire bed-room sets in 
colors, stripes and ornaments. And besides the various 
bric-a-brac ornaments, there are show-card signs, store 
fronts, carriage gears, both for the babies and the grown- 
up folks ; then, again, the various wire screens, iron 
guards and railings look well touched up in bronze. 
And further mention could be made of the decorative 
work in stencil and fresco that is in this line of bronz- 
ing also. 

Let me say to all amateurs in bronze manipulation, 
Get the best. The extra cost is nothing in comparison 
to the satisfaction of doing work that will be pleasing, 
satisfactory and lasting ; and besides, the better class of 
bronzes are so much finer they spread out to a greater 
extent, and the prices are not so much at variance as at 
first supposed. One must not always suppose that be- 
cause an article is higher in dollars and cents it is the 
most expensive. It's like buying three pounds of cheap 
color to tint a pot of lead, when one pound of good col- 
or would have done the work at a third less outlay. 

The most successful method of bronzing, whether 



a chair, frame or store front, is to apply the bronze dry. 
Get your surface as clean and smooth as possible and 
then give it a coat of almost flat lead, tinted a little 
toward the color of bronze. But do not try to get the 
color too close in tint for the first coat. The reason is 
this : Suppose you mix your color for the first and second 
coats the same shade ; it is ten chances to one that there 
will be " holidays " in the second coat, and when you 
apply your bronze there will be places where it will not 
take, causing you much trouble in touching up. Sup- 
pose you are going to apply copper bronze ; tint your 
lead for the first coat with orange chrome — not too dark, 
but just a medium shade. Put in enough ." turps" and 
driers to insure a good, hard surface when dry. Re- 
member that too much japan and oil never dries crisp 
and hard, but, on the contrary, is always gummy. Your 
next coat should be mixed to approach the color of the 
copper. Orange chrome and Indian red will do as well 
as any combination you can obtain. Sizing for store 
fronts and all large surfaces should be mixed with nearly 
all boiled oil and a little carriage varnish ; for vehicles, 
coach varnish and a little oil ; for chairs, frames, and 
small articles, gold-size Japan will be best. Now watch 
your surface, and when it dries sufficiently to become 
slightly " tacky," apply the bronze with a piece of raw 
cotton and a soft-hair brush. The places not accessible 
to the cotton must be done with the brush. 



FOR RADIATORS. 

Use a thin, light-flowing liquid, made of good copal 
varnish, boiled, and diluted with benzine, as this will not 
discolor the bronze, and the drying capacity of benzine 
is such as to leave the bronze in its natural lustre, with- 
out giving it time to discolor. 

Of course you can take more chances with the store- 
front mixture. The bronze will take this many hours 
after it is apparently in the right condition, which will 
give you time to get over the whole without danger of 
being too dry. Not so with your chair mixture. If this 
gets too dry, the bronze will only take in patches ; there- 
fore it is necessary to commence the work of applying 
the bronze just as soon as you can brush it on without 
moving the surface. Stand the article away to harden 
some, after which the surplus is to be all cleaned off, and, 
with a piece of chamois skin, you can polish your work 
up. It will be seen at once that the dry application is 
much superior to using the bronze in liquid form. Here 
the metal appears in all its native beauty, whereas in 
mixing with the liquid, it has a sickly, deathly appear- 
ance, the same as gold leaf appears after being varnished. 
Never use a rosin varnish about bronze. Rosin has a 
tendency to color metals very rapidly. Although glue, 
with a little syrup added, may be successfully used for 
bronzing on cardboard signs or any water-color work, yet 
gold-sized japan is much preferable. 



7 



In bronzing silk, cloth or banner work of any kind, 
two coats of sizing are always necessary. The first 
coat may be of glue, or the two coats gold size or good 
varnish. Use no oil, especially for first coating, on any 
kind of fabric work. 

In bronzing plaster casts, the porous surface should 
be well filled with two or three coats of paint before the 
sizing is applied. 

In bronzing in imitation of old copper, the same 
process is gone through as above ; then the work is 
shaded up with walnut graining color in dappled form 
or in patch reliefs. The shading must be done in an 
artistic manner. The color must not be too prominent 
and must be well blended off" to have the retreating edges 
almost imperceptible. The work is then varnished with 
a good rubbing varnish and rubbed to a wax finish. If 
a high polish is desired, without regard to expense, two 
coats of rubbing varnish are applied, after which it is 
rubbed to a smooth, level finish and re-varnished with a 
first-class body varnish. The varnish must be flowed 
on quite freely and in sections to insure a perfect and 
high-gloss surface. 

In bronzing carriage gears, the work is brought up 
to the finishing varnish in colors to suit the bronze 
desired. The surface is then sized, bronzed, and, when 
dry, polished, thoroughly dusted, washed, and the finish- 
ing varnish applied. 

8 



HINTS ON RADIATOR BRONZING. 

(%N occupation which has originated since the systems 
/ *^ of steam and hot-water heating have been so ex- 
tensively introduced is that of painting and decorating 
radiators. Here we have a new industry, and one that 
commends itself as filling a long-felt want. The refin- 
ing influence of art and the conquests of gilt and paint, 
bronze and enamel, over the rough and unfinished cast- 
ing, are sure to please the eye and taste of all who use 
radiators. 

The business of decorating radiators of all kinds 
has become an established trade, and the blending of 
colors, both in bronze and enamel, to match wall paper, 
tinted walls, woodwork, carpets, etc., causes instant ad- 
miration when practically carried to perfection. A radi- 
ator is considered by some as an eyesore to a room, but 
under the artistic brush of a practical radiator decorator 
it is soon changed to a positive ornament. The appli- 
cation of bronze or special radiator enamel will not effect 
the radiation of the pipes in the least. After radiators 
have been in use for a short time they begin to look 
shabby, there is every need of their being attended to by 
some one who is familiar with the work. The demand 
for this class of work is very extensive. 

For the benefit of those who have not studied this 
question more closely, we give a few hints regarding the 



9 



decoration of radiators with bronze. A majority of radi- 
ators today are simply done in gold bronze or gilded. 
This is the cheapest method employed in finishing radi- 
ators by steam fitters and contractors ; and because the 
fitter finds it hard to suit the tastes of the person hav- 
ing the work done. This is a frequent occurrence with 
fancy and ornamental radiators. Why ? Because the 
steam fitter has not the experience in the shading and 
blending of colors that a practical radiator decorator has 
acquired through his daily work and years of experience, 
and, in most cases where an artistic decoration is re- 
quired, will use a horrible combination of color, at least 
not satisfactory to the parties having the work done. 

Combinations of colored bronzes whose shades are 
near to each other ought to be avoided carefully, espec- 
ially gold with any other color with a light contrast. Fol- 
lowing are a few very pretty combinations in bronze 
where two colors are used: 

Gold body with Aluminum on ornamented part. 

Gold body with Green on ornamented part. 

Gold body with Copper on ornamented part. 

Copper body with Gold on ornamented part. 

Copper body with Green on ornamented part. 

Green body with Copper on ornamented part. 

Green body with Gold on ornamented part. 

Aluminum body with Gold on ornamented part. 
And many other combinations when the colors of the 
room require it. A beautiful and quiet effect is pro- 



10 



duced by bronzing a radiator with black bronze and 
decorating the ornamental parts with gold bronze. 

OXIDIZED SILVER. 

An oxidized finish makes a very pleasing effect for 
a radiator. To produce this finish the following rule 
should be observed : First clean the radiator of all rust 
and oil, then bronze it with a good quality of aluminum 
bronze. When thoroughly dry and hard, apply one 
thin coat of white shellac. When thoroughly dry cover 
the surface with an oil black ; allow this to set for a 
short time, then wipe all the black possible from the sur- 
face. If carefully done will leave an oxidized surface. 

For obtaining best results in matching wall paper 
with a cream-colored ground, mix gold and aluminum 
bronze together in about equal parts. Keep it well 
stirred, and apply carefully. This combination has been 
used by the writer with good results. 

The question has often been asked of the writer, 
How many feet of radiation will one pound of gold bronze 
cover ? This is a question that is impossible to answer, 
as it depends entirely upon the persons who use the 
material, whether they will mix the bronze and liquid in 
thinner or thicker proportions. A fairly good job, how- 
ever, is done by using one pound of bronze to one quart 
of bronzing liquid. The same will cover about one 
hundred square feet of radiator surface in any of the 



ii 



standard radiators. It is the opinion of many persons — 
which I have found in my experience to be a mistaken 
one — that a higher-priced bronze will cover more sur- 
face than a cheaper grade. I have repeatedly shown this 
to be a mistake, and could never get more work out of a 
higher-grade bronze than out of the cheaper grades. 
But the great advantage of higher and medium grades of 
gold bronze is that they contain a better material, and 
consequently will look much brighter and more lustrous 
than the cheaper grades. 

PATENT BRONZES. 

yTVEVER use the so-called patent bronzes for radiator 
tS decoration. These bronzes are originally silver 
bronzes, and their high, brilliant color is given with 
aniline. The heat of the radiator will destroy the aniline 
color in a very short time, and nothing will be left but a 
soiled, dull silver bronze. If the above hints are taken 
advantage of, the decoration of radiators (in itself not 
an easy matter) will be greatly simplified, and the fitter 
and consumer will doubtless be helped in their efforts to 
please themselves and others. 

Some time ago the writer made experiments with 
these so-called patent bronzes, the results of which may 
be interesting to the reader. Applying to the surface of 
several stones a coat of the various patent bronzes, also 



12 



gold and aluminum, in order to determine the durability 
of the various bronzes, with results as follows : After 
bronzing the stones they were exposed to the elements, 
and within two weeks the gold and aluminum bronze, 
while having lost its lustre, retained its original color; 
while the patent bronzes, exposed to the weather the 
same length of time, had bleached out, eliminating all 
traces of their original shades, leaving the surface of the 
stones with a dull silver effect, which substantiates be- 
yond any doubt what the writer has already stated, that 
the patent bronzes are produced from silver bronze and 
colored with aniline. 

Bronze has come down in price to such a degree 
that the consumer can buy it at $1.00 to $2.50 per 
pound in a quality equal to the one for which he used to 
pay from $3.00 to $6.00 per pound. But care ought to 
be used to buy only bronze powder which shows per- 
fectly dry and brilliant in the bulk, and is made with the 
addition of as little oil as possible, as this will keep its 
original color a great deal longer than bronze that has 
been made with oil. And this brings us to the leading 
question in radiator bronzing. — Which bronze will keep 
its color longest on radiators ? 

Bronze, with the exception of aluminum and silver 
bronze, is made out of copper, etc., and the tendency of 
heat is to darken the color of copper. The consequence 
is that all bronzes, with the above exceptions, will turn 



1 3 



darker if exposed to the heat for any length of time. 
All gold bronzes will turn to a darker orange-like color in 
time, but if worked properly in the way stated above, a 
" dry-ground " bronze will keep a little longer than any 
of the oily, so-called " fine-ground " bronzes, owing to 
the absence of oil, which is likely to change the bronze 
to a blackish yellow. If an absolutely untarnishable 
bronze is required, let the fitter or consumer use u pure 
aluminum bronze," which will never change its color. 

ALUMINUM BRONZE. 

ALUMINUM bronze cannot be too highly recom- 
**' mended for radiators in place of silver bronze. 
It is whiter in color, more brilliant in lustre, and, as 
stated above, absolutely untarnishable if pure. Heat will 
not affect its color. The price of aluminum bronze is 
very reasonable, and for all practical purposes it is 
cheaper than silver bronze. One pound of aluminum 
bronze contains a quantity equal to three pounds of 
silver bronze, and it is the only bronze material that can 
be ground fine enough to cover more surface than other 
bronzes. 

I desire to caution the reader against the adulter- 
ated aluminum bronze, of which considerable is sold. 
This bronze contains about three quarters of aluminum, 
and one quarter of silver bronze is added, in order to 



14 



meet a cheaper price. The presence of silver bronze 
will diminish the quantity to the pound, and seriously 
impair the standing quality of its color. Upon close 
examination the adulteration may be detected, however, 
as the pure aluminum, if placed on the finger nail, will 
look whiter and more silk-like than the adulterated 
substitute. 

ALUMINUM PAINT. 

f^LUMINUM, when reduced to powder, and mixed 
'**' with a solution in water of gum-lac, gives a 
metallic paint which covers well, and may be shaded 
with aniline colors, dissolved in water. The solution of 
gum-lac is made by bringing to the boiling point a mix- 
ture of gum-lac and borax and an alkali, such as soda of 
ammonia. 

The solution must contain at least from fifteen to 
twenty per cent of gum-lac. Aniline colors are added 
to produce the shade desired, and aluminum is added in 
sufficient quantity to produce a paint sufficiently fluid for 
application with a brush. The color is brilliant, very 
durable and impermeable, and may be applied to metal, 
paper, wood and wooden materials, yachts, etc. It may 
be rendered supple by the addition ot a small quantity 
of glycerine. 



15 



POSSIBILITIES OF ALUMINUM. 

'TfjfF aluminum ever becomes available as a commercial 
"^ product, there will be no limit to its uses, for it is 
far more abundant than any other metal or mineral. It 
is contained in common clay, of which it constitutes one 
of the chief ingredients. At present it cannot be got 
out of the clay except by burning the latter at a heat 
four times as great as that of the ordinary ^melting fur- 
nace, — a heat that cannot easily be produced except by 
electricity; but the progress of chemistry is likely to dis- 
cover some new and cheaper process of extraction. 
Some of the most alert minds in Germany, England and 
this countrv are concentrated on experiments with clay. 
Scores of patents have already been taken out in all 
countries. Anv year may witness the solution of the 
problem and the creation of a metal which may relegate 
steel to the background. 

BRONZING LIQUID. 

J|pjO not use thick or turpentine liquids to mix your 
^^ bronze. A thick, heavy bronze liquid, when 
mixed with bronze, will make it look like a yellowish 
paint covered with varnish, and despoil it of its metallic 
appearance. A turpentine liquid is even more dangerous, 
as the tendency of turpentine is to color the bronze 
greenish. Do not try to dissolve varnishes to make 

16 



bronze liquids yourself, but buy a carefully and specially 
prepared liquid for all purposes, and the result will be 
gratifying to yourself and your patrons. 

Of course I have often met the objection that 
benzine liquid dries too quickly and could not therefore 
be used to advantage in the bronzing of hot radiator 
work. Just so. The work should not be bronzed hot, 
if this can possibly be avoided. I have met steam fitters 
who would heat a radiator up to its highest capacity, and 
then bronze it, so that the bronze would draw blisters if 
they just touched the radiator, claiming that this way of 
using it would consume less bronze and liquid ; while if 
they had made comparisons on cold work they would 
have noticed that they had used not only considerably 
more material, but had done much inferior work. The 
heat or even moderate warmth in a radiator will hasten 
the drying qualities of the liquid to such a degree that 
it will dry almost under the brush, before a long, even 
line is drawn to make a smooth job. If the bronze has 
not time enough to settle, it will become streaky-looking, 
and must be done over the second time. Besides this, 
there is another disadvantage in bronzing warm radi- 
ators, and this is the danger of having the bronze change 
its color much sooner than on work that has been done 
on cold radiators. Every bronze liquid must contain a 
little oil, and this oil, if not dried out, will, when 
warmed by the radiator, invariably darken the bronze. 



l 7 



This could not happen if the liquid were given a chance 
to dry on cold work. If the work is done during the 
cold weather, it will be an easy matter to turn off the 
heat during the time of decoration without any annoy- 
ance to the inmates, who will insist upon having their 
radiators as good and attractive-looking as possible. 

PICTURE-FRAME GILDING. 

*7jfT is a well-known fact that nothing in modern 
"** times has been produced that is fully equal to gold 
leaf for the purpose of gilding picture-frames and other 
ornaments where color, brilliancy and durability are 
required. It has been the aim of all manufacturers and 
dealers to approach these qualities, and there has been 
many imitations placed upon the market which claim 
to be its equal, but in an experience of fifteen years I 
have failed to see their claim verified. 

I can supply a bronze and liquid which I do not 
claim is equal to gold, but is the nearest approach to it 
of anything that has yet been produced. It is brilliant, 
durable, and very easily applied, and is an excellent sub- 
stitute for gold leaf. 



18 



BRONZING BY DIPPING. 

^JT^HE process of dipping in mixed bronze is a suc- 
cess on certain articles, such as light hardware, 
cast iron and sheet metal toys. The object being to 
color the article gold or aluminum where a very bright 
finish is not looked for. 

While a fairly good finish can be obtained on iron 
by dipping, it is difficult to dip wood articles with good 
results, the wood being porous absorbs the liquid very 
quickly. This causes the bronze to separate, look thin 
and dull ; it will also peel off. 

The difficulty with bronze dipping is in keeping 
the bronzing material well stirred and of the proper 
consistency to adhere, cover and drip. 

A tub for dripping should be made to slant toward 
the centre. A revolving roller to run slowly through 
the tub lengthways will keep the material well stirred. 

A special bronze liquid is made for dipping pur- 
poses. A dipping liquid should be a light flowing liquid. 
It will drip and become hard in less than one hour. 

STRIPING BRONZES. 
ijJ^OLD, aluminum and copper striping bronzes are 
^^ the product of the higher grades of French leaf 
bronzes. After going through a process to extract the 
finer from the coarser particles, dried and polished, it is 
then ready for the consumer. 



l 9 



Gold and aluminum striping bronzes are mostly 
used by carriage painters, and would have been in 
greater demand by this trade if known to them where 
some could be procured and at a reasonable price. The 
writer has called upon scores of carriage painters during 
the past five years that have experimented with the 
ordinary bronzes. The results being very unsatisfac- 
tory, having bought their bronzes from jobbers and 
paint dealers who were not aware of the difference in 
striping from other bronzes. 

In buying bronzes it is advisable to buy from the 

manufacturer. 

To obtain best results with gold and aluminum 
striping bronzes it is necessary to use a proper size in 
mixing. 

Many painters will mix turpentine and varnish 
with their striping bronze and wonder why the results 
are unsatisfactory. 

Turpentine will discolor bronze, will cause it to 
crawl and turn a very dark greenish shade. 

Gold size japan or ordinary japan are the best 
admixture for striping bronzes. For fine lines use gold 
size japan, for coarse lines use ordinary japan. 

Gold striping is made in two shades — pale gold 
and rich gold. Copper striping is made in two shades — 
natural copper and dark copper. Copper is used largelv 
by piano plate manufacturers and japanners. 



20 



Aluminum striping is a light silver shade ; is used 
largely on delivery and express wagons instead of flake 
white. It is lighter in shade, has better covering ca- 
pacity, will wear longer and look better than flake white. 

Aluminum striping bronze is so fine that it can be 
used for lettering by mixing and applying with a pencil 
like any ordinary japan color. 



m 



HOW TO USE GOLD PAINT. 

IX in a shallow vessel a small quantity of the gold 
powder with sufficient liquid to give it the con- 
sistency of paint, and apply the mixture with a soft 
brush. Do not prepare more of the mixture than re- 
quired for immediate use. A second application, when 
thoroughly dry, will improve the appearance of all 
objects on which this gold paint is used. 



21 



LITHOGRAPHERS 
and PRINTERS 

^P*HE consumption of Bronze Powder by the Litho- 
^^ graphers and Printers, is greater than in all other 
lines of business where bronze powder is used. Until 
within a few years, lithograghers and printers applied 
their bronze powder by hand, that is, after applying the 
gold size on their presses, they used a bronzing pad 
covered with chamois skin or beaver fur dipped in dry 
bronze powder, then lightly going over the surface sized, 
when it would be set one side to thoroughly dry, before 
dusting off to remove the superfluous powder from the 
sheets. 

While many lithographers and printers continue to 
applv their bronze powder by hand, a majority of the 
larger, and many of the smaller houses, have adopted the 
new process of applying their bronze powder by machine, 
(a cut of which is shown on the following page). 



22 



COMBINATION BRONZING AND DUSTING 

MACHINE. 

Made in Fifteen Sizes. 
To bronze sheets from 14x25 to 64 x 64 ; adjustable to all 
thicknesses of paper or card board. Will bronze from 1,000 to 
2,000 sheets per hour, according to size of machine. 



Will bronze sheets up to size 14x25. 
Sizes: — 14x25; 16x30; 20x30; 20x35; 25x36; 
25x38; 30x44: 34x50; 36x50; 36x54; 44x56; 
48 x 65 ; 64 x 64. 

23 



Provided with patent devices for applying, polishing 
and removing the superfluous powder from the sheets, 
which after being bronzed are deposited upon the deliv- 
ery-board with the bronze side exposed to view. This 
machine has been manufactured during the past ten 
years, improvements being constantly added — 1,500 are 
now in use in the United States and Canada. 

It is acknowledged by the many lithographing and 
printing houses throughout the country who are now 
using the Combination Bronzing and Dusting Machine, 
that for the average class of work it will bronze and dust 
effectively in one operation. The machine is built on 
thoroughly scientific principles, and devoid of all unnec- 
essary mechanism, one of the features being that all ad- 
justments are made on the outside. Heavy, or thin 
paper can be bronzed and dusted equally well, without 
readjusting the machine. This patented improvement 
overcomes the great danger of the delivery roller being 
wrongly adjusted, and the sheets sticking in the machine. 
The fountain, which is also secured by patent, is the 
only effective fountain applicable to a bronzing machine. 
Besides the knives which regulate the flow of bronze, 
a sectional brush is attached in such a manner that the 
bronze is sprayed directly on the sheet, and awav from 
the bronzing pads, this allowing them to do their work 
more effectively than by any other known process. 



24 



By setting any particlar section of the brush closer 
to or farther from the fountain roller, a stronger or lighter 
flow of bronze will be sprayed on the sheet under that 
section. 

No extra cams for different sized sheets are needed, 
as the flow of bronze can be regulated to any sized sheet 
by a set screw. 

If a printer would consider the advantages of a 
Combination Bronzing and Dusting Machine he would 
not long be without one. It will thoroughly bronze 
and dust 1,000 to 2,000 sheets per hour, without scat- 
tering bronze, as happens when the work is done by 
hand, and saves a great deal of labor and more time. 

The larger machines grip the long side of sheet, the 
same as a steam press does. This overcomes the danger of 
stretching a large sheet out of register and also facilitates 
the bronzing, as sheets need not be turned while travelling 
from the press to the bronzer. 

Should it be necessary to change from one shade of 
bronze to another, the machine can be thoroughly cleaned 
in one half hour. 

It has been said that the cheaper grades of bronzes 
are good enough for the average lithographer and printer. 
This is not so. In fact, the finer grades of bronzes are 
none too good. The lithographer and printer of toda) 
will not use cheap chemically made bronzes, they prefer 
the new Leaf Metal bronzes, especially where the work 



25 



is to be embossed after being applied. This new Leaf 
Metal bronze is especially adapted for the lithographer 
and printer. It can be worked on all grades of paper or 
card without sticking or smutting the stock, and gives an 
unusually fine, bright and finished appearance. 

This bronze is destined to take the place of the 
high priced French Leaf bronze powders, because it will 
cover as much surface, does not adhere to the rougher 
kinds of stock, and possesses the same brilliancy and 
fineness. It is carefully made from the scraps of Dutch 
metal, the best obtainable article used in making high 
priced bronzes. It will also preserve its color and dur- 
ability. The quality of this bronze will be maintained 
to a uniform standard and can be furnished in any desired 
shade, as follows : 

Pale Gold, Rich Gold, Pure Gold, 

Green Gold, Deep Gold, 

Lemon, Copper, Orange, 

Fire, Crimson, 

Lilac, Maroon, Blue, 

Silver, Aluminum, 

High Red, Yellow, Olive Green, 

Navy Blue, Dark Blue, 

Dark Green, Antique Green, Sea Green, 

Light Blue, Grass Green, 

Rohe, Amaranth, Violet, 

Emerald Green, Magenta. 

BRONZE SIZING. 

^frRONZE sizing is made in three shades,Yellow, Brown 
^^ and White, and is ground to set quick, medium 

26 



and slow. For obtaining best results in bronzing, it is 
necessary to use a size specially adapted to the grade of 
paper or card to be bronzed, as well as the shade of bronze 
to be used. Yellow and Brown size is used for Gold 
and Colored bronzes, while White size is made specially 
for Aluminum bronze. 

On glazed papers a special Glazed Paper Size must 
be used to obtain the best results. A regular size is 
liable to pick the glaze or allow the bronze to rub off 
when dry. 

The cover of this booklet is bronzed with pure 
Aluminum bronze over white size. 

GOLD AND SILVER INKS. 

/fjTOLD and Silver Inks are used like ordinary inks, 
^^ though it is necessary to follow certain rules to 
secure the best results. Gold and Silver inks should be 
flowed on the disc from a fountain, as it is necessary to 
use these inks freely to secure a lustre to the bronze. 
Use only rollers that have been in use a long time, that 
is, a dry roller. A new roller, being damp, repells the 
bronze and effects the lustre, especially on glazed paper. 

Gold ink is made in two shades — Pale Gold and 
Rich Gold. Silver ink is made of Aluminum, and gives 
a white and silver-like finish. 

A specially prepared varnish is used for thinning. 
Do not try to thin with ordinary varnish. 



27 



ENAMEL and 
ENA M E LL ING 

^IT^HE almost universal use of enamel, like bronzes, for 
^^ work in which, hitherto, the house decorator and 
painter have been considered necessary, and at the same 
time the frequent misuse of these mediums, from ignor- 
ance in their application, call for a guide to their manipu- 
lation, with directions as to the treatment of different 
substances and articles. The very simplicity of the 
medium is a difficulty in itself, as people are apt to 
be careless about work that entails little or no trouble. 
Things that can be done at any time are very often not 
done at all, and so things that require no trouble are as 
often as badly done ; therefore, whenever failure results 
in the use of enamel, it cannot be too emphatically stated 
that the fault rests with the operator. If the following 
simple directions are not followed, and the mistakes 
avoided, the material itself will not only be wasted, but 
the article under treatment spoiled. 

Pure enamel does not dry quickly. If it did so it 
would chip, as do all the much-advertised imitations. 
Tin, to which it has been applied, can be dented without 
chipping or breaking the medium. Turpentine must 
rarely be added to the enamel, as it makes it dull. Thin- 
ning is not required in a pure enamel. Enamel should 
be ready prepared and in every particular fitted for im- 

28 



mediate use. For all large surfaces use a three-inch hog- 
hair brush ; for radiators and bath tubs, a one and a half 
or two-inch brush. For smaller articles a one-inch 
badger-hair brush can be used with great advantage in 
painting an article. They produce a fine, smooth, liquid- 
looking surface, but are expensive. Brushes should be 
thoroughly cleaned with turpentine each time they are 
used, and to preserve them for future use they should be 
suspended in linseed oil. One gallon will cover forty 
square yards of a non-porous surface, or about a half-pint 
to two and a half square yards. It is well, when the 
wood is new, to give it a priming coating of common 
paint. This will render it non-porous and economize 
the enamel. 

Terra-cotta articles ought first to be sized, as this 
ware is very porous. If preferred, a common paint may 
be used for the priming medium. 

Picture-frames must be carefully washed before 
enamelling. For these, two thin coats will be sufficient. 

Should any object, or any portion of a room, under- 
go much fingering or unusual wear and tear, one coat of 
clear enamel, after the color has thoroughly dried, will be 
found a first-rate preservative. There are very few 
articles of domestic use to which enamel is not applic- 
able, and as stated further on, its value for decorative 
purposes cannot be made too well known. 



29 



Cold deteriorates its drying power. Keep the 
enamel always securely covered up, as the air will cause 
the contents to skin and become useless. 

In line summer weather open the windows and let 
the articles enamelled dry in the genial warmth. 

HINTS ON RADIATOR ENAMELLING. 

JpOR many years various kinds of paints have been 
J) experimentally used in decorating radiators, but 
none have been satisfactory and durable enough to take 
the place of bronze powder. As a consequence, no im- 
provements have been made in the decoration of radiators, 
which, being a part of the ornamentation of rooms, are 
very awkward when failing to harmonize with the sur- 
roundings. In fine apartments it is very desirable that 
something besides the customary article be used, and to 
this end the enamel has been brought forward. By its 
use a beautiful and artistic effect can be produced, by 
selecting colors harmonious with the surroundings, and 
in good taste. Combinations with bronze colors are 
easily made, and thereby the appearance of the radiators 
changed from unsightly to ornamental features of the 
rooms. 

Enamel is perfectly adapted to this kind of work, 
and has been thoroughly tested in all necessary condi- 
tions, and the results are entirely satisfactory, proving in 



3° 



actual practice its ability to stand heat, even when sub- 
jected to very high pressure of steam. 

Care has been taken to produce a line of shades 
which can be arranged to suit all tastes, and others will 
be forthcoming as occasion demands. 

The enamel is easy to apply, and only requires two 
coats to produce a perfect surface which remains hard 
and glossy, allowing any discoloration, dust or dirt to he 
washed off without any injury to its appearance. 

While the first cost is a trifle greater, it is more 
economical than bronze on account of its greater dura- 
bility and remaining unchanged in color for years. 

Special shades, to match any sample, made to order. 

For the benefit of our readers, I will furnish good 
color combinations to those who will write me, stating 
the pattern of radiator used and the shades of the wall 
paper, carpets, etc. 

Enamel can be used with admirable effect for 
steam and water radiators. In this direction there is a 
wide field for its usefulness. Enamels in all shades can 
be produced by tinting white enamel, and thereby obtain- 
ing any shade required for a radiator when being matched 
to wall paper, tinted walls, woodwork, etc. When a 
perfect match is obtained a pleasing effect can be had by 
touching the raised parts of the radiator with gold or 
silver bronze, or other bronzes to match or blend with 
the surroundings. The essential object in the decora- 



3 1 



tion is harmony, — harmony in design as well as color. 
This can be obtained with as pleasing results with simple 
materials and slight expense as with the most expensive 
elaboration. It is well to give radiators a coat of paint 
to act as sizing before applying the enamel. This coat 
should be what is termed a half-flat coat, and this coat 
should be thoroughly dried before applying the enamel. 
A very light heat will help the spreading of the enamel 
in cold weather. 



BATH TUB ENAMELLING. 

rjji TIN bath tub will require three coats, very thinly 
™^ applied. Each coat must be thoroughly dry be- 
fore the next is added. This drying between the coats 
applies to every article enamelled. Thoroughly clean 
the bath, and see that it is perfectly dry before applying 
the enamel. Wherever there is a suspicion of grease, 
the article must be washed and dried. All articles that 
have been handled must also be washed. Ivory and 
snow-white are the best tints for bath enamelling. 
Also, be careful never to touch the enamel with the 
hands, as their warmth, and natural, if impreceptible, 
greasiness, injure the medium. 

It is not necessary to remove old paint before using 
the enamel ; if the surface is good and smooth, go 
straight over it. If it is rough, rub it equal and smooth 



3 2 



with sandpaper. Should it be requisite to remove the 
old paint, use turpentine or sandpaper; get as much off 
as you can, then rub the surface until it is quite smooth. 
It is a good plan to fill a bath, after it is finished and 
dry, with cold water, and to let it stand forty-eight 
hours. This will tend to harden the enamel. 

The outside of an iron bath-tub should be enamelled 
before it is set in position. First, set the tub upside 
down. After filing off all rough places and thoroughly 
going over the surface with sandpaper, apply two coats 
of white zinc thinned with turpentine ; sandpaper after 
each coating. Then apply two coats of enamel. In 
applying the enamel on bath tubs (inside or outside) 
draw the brush vertically. This will avoid running and 
sagging of the enamel. After which rub down with 
pumice stone and water ; thick felt is used for this pur- 
pose. If properly done will produce a surface as 
smooth as glass. 

MIXING COLORS. 
^7jfN mixing colors for woodwork and interior decora- 
"*' tions, where it is desired to produce a result in 
harmony with the wall hangings, a great deal of valuable 
time is frequently spent in getting suitable tints. The 
writer remembers spending the greater part of a whole 
day in endeavoring to satisfy the tastes of a customer of 
the gentler sex, who insisted that every attempt was out 



LofC. 33 



of harmony, but who, strange to say, finally chose the 
very colors that had been suggested in the first place. 
In cases of this kind it is well to have on hand a 
portfolio of colors and tints. This would prove of 
immense advantage in all cases where colors were to be 
selected ; but many decorators fail to keep them on 
hand, generally falling back on a sample book of plain- 
ground wall paper. This, however, gives no adequate 
idea of the appearance of a color when \arnished or in 
oils, as, being entirely without gloss, they are taken by 
the uninitiated far too literally. Of course, they answer 
admirably for water colors, but in all other cases espec- 
ially prepared samples are very useful to have on hand. 

HOW TO MIX PAINTS IN THE 
PREPARATION OF TINTS. 

The first-named color always predominates. 
Mixing dark green and purple makes bottle-green. 
Mixing white and medium yellow makes bufT tint. 
Mixing red, black and blue makes dark brown. 
Mixing bronze-blue, lemon-yellow and black makes dark 

green. 
Mixing white, medium yellow and black makes drab tint. 
Mixing white, lake and lemon-yeliow makes flesh tint. 
Mixing lemon-yellow and bronze-blue makes grass-green. 
Mixing white and black makes gray tint. 
Mixing white and purple makes lavender tint. 



34 



Mixing red, black and medium yellow makes maroon. 

Mixing lake and purple makes magenta. 

Mixing medium yellow and purple makes olive-green. 

Mixing medium yellow and red makes orange. 

Mixing white, ultramarine blue and black makes pearl 

tint. 
Mixing white and lake makes pink. 
Mixing ultramarine blue and lake makes purple. 
Mixing orange, lake and purple makes russet. 
Mixing medium yellow, red and white makes sienna. 
Mixing white and ultramarine blue makes sky-blue. 
Mixing ultramarine blue, black and white makes slate. 
Mixing vermilion and black makes Turkey-red. 
Mixing white, yellow, red and black makes umber. 

JAPANNING. 

3APANNING is the process of giving to manufac- 
tured articles of tin, sheet metal and iron the 
appearance of lacquered wares. The colors mostly 
used in japanning material are black and light and dark 
brown. Black japan is a mixture of copal varnish and 
ivory drop black (ground in japan). Light and dark 
browns are a mixture of copal varnish and asphalt in 
sufficient proportions to produce the desired shade. 
Various shades are made by mixing copal varnish with 
colors ground in japan, the following colors being used : 
Indian red and vermilion, plain or glazed with carmine ; 



35 



coach painters' green, light, medium or dark blue, white, 
&c. Gold, copper and other shades of bronze powder 
can be used, and produce an excellent finish for piano 
plates and light hardware. 

Do not undertake to mix your own japanning col- 
lors, but buv a carefully and specially prepared japan for 
all purposes, as you will find it cheaper and better. 
Use only bronze powder which shows perfectly dry and 
brilliant in the bulk, and is made with the addition of as 
little oil as possible, as this will keep its original color 
longer than bronze that is made with oil. Before apply- 
ing the japan care should be taken to clean ofr all rust 
and oil, for if not thoroughly clean the japan will 
peel off. 

Use a flat bristle brush of proper size in coating 
the articles with japan. The elasticity of the material 
makes this necessary to secure a smooth and even sur- 
face. On cheap tinned articles one coat is all that is 
usually applied. Sheet iron should if necessary have 
two coats, though one coat can be applied to cover 
thoroughly when put on by an experienced japanner. 
Large and small cast iron articles are coated with a 
brush, though small castings are often dipped and 
allowed to drip suspended from wires. 

To produce a gold, copper or other bronze finish 
first coat the article with varnish size, allow the size to 
become nearly dry, or tacky, and then apply the bronze 

36 



with a velvet or plush pounce. Japanned and bronzed 
articles are given a coat of varnish immediately after 
being taken out of the baking oven, though this is only 
when a very smooth and glossy surface is required. 

The process of mixing and applying being finished, 
it is necessary to place the article in the baking oven. 
These ovens are specially constructed for the purpose 
of baking japanned work. They are built in various 
sizes, according to the room required, usually of brick 
and having sheet iron doors, with tiers on inside walls. 
A steady temperature from 250 to 400 degrees F. is 
required, and articles remain in the baking oven from 
12 to 48 hours. Heat is obtained by the use of coal, 
but recently gas has been introduced. The gas oven is 
preferred, being cleaner, gives a quicker and more steady 
heat, can be easily regulated and is less expensive to 
operate. 



37 



The FUCHS & LANG MFG CO. 

29 WARREN ST., NEW YORK, U.S.A. 



LARGEST MANUFACTURERS 
AND EXPORTERS OF 

BRONZE POWDERS, 
BRONZING LIQUIDS, 
BRONZING MACHINES, 
PRINTING INKS, 
LITHOGRAPH INKS, 
LITHOGRAPH MACHINES, 
LITHOGRAPH SUPPLIES, 
PHOTO ENGRAVING SUPPLIES. 



FACTORY, 

North i ith, Driggs & North 12th St. 
brooklyn, n. y. 

Correspondence Solicited. Send for Circulars 



WE MAKE OUR BRONZES IN AMERICA. 



LUCAS HELPS 
FOR ENAMELLING. 



LUCAS BATH ENAMEL. 

White and four beautiful tints, will stand 
hot water, dilute acids and alkalies. Tip 
top for bath tubs, radiators, registers, etc. 
The Enamel for Golf Balls. . . . 

LUCAS ENAMEL PAINT. 

Six Tints, 12 Colors, Black and White. 
Unequalled preservative and decorative 
agent for home use 

LUCAS ENAMEL PRIMERS. 

Thoroughly reliable for first coat or prim- 
ing, wood and iron work ; bath tubs, bicy- 
cles, radiators, registers, etc 

LUCAS ENAMELS MAKE PRETTY HOMES. 

WRITE FOR SAMPLE CARDS. 

JOHN LUCAS & CO., 

NEW YORK, PHILADELPHIA, CHICAGO. 



NONE JUST AS GOOD AS THE 




Hot Water Heaters, Steam Boilers 
and Radiators. 



THE STANDARD OF EXCELLENCE. 




CAPACITIES FOR ANY REQUIREMENT. 
Send for Catalogues and Discounts. 

GURNEY HEATER MANUF'G CO., 

74 Franklin St., Boston. 

N. Y. Branch, Western Selling Agents, 

in Fifth Ave. N.Y. City. Jas. B. Clow & Sons, Chicago, III. 



CONTENTS 



Bronze and Bronzing, - I 

Gold Bronze, _____ 2 

Copper, ______ 3 

To do Bronzing Successfully, - - - 4 

Hints on Radiator Bronzing, - 9 

Patent Bronzes, - - - - - 12 

Aluminum Bronze, - - - - 14 

Aluminum Paint, - - - - - 15 

Possibilities of Aluminum, - 16 

Picture Frame Gilding, - - - - 18 

How to Use Gold Paint, - 21 

Striping Bronzes, - - - - - 19 

Bronzing Liquids, - - - - 16 

Lithographers and Printers, - - - - 22 

Bronzing Machines - 23 

Bronze Sizing, _____ 26 

Gold and Silver Inks, ----- 27 

Enamel and Enameling, - 28 

Hints on Radiator Enameling, - - - 30 

Bath Tub Enamel, - - - 32 

Mixing Colors, - - 33 

How to Make Tints, _ _ _ _ 34 

Japanning Tin, Sheet Metal, &c, 35 



in lOOl 



AUG 5 1901 



